Melancholia. O tych, co nigdy nie odnajdą straty has 49 ratings and 1 review. Israel said: Excelente, maravilloso y, ante todo, poético ensayo. It could be said that Marek Bieńczyk is a writer without category. However, there’s a second kind of melancholic sight, “the upward gaze,”. Melancholia: o tych, co nigdy nie odnajdą straty. Front Cover. Marek Bieńczyk. Wydawn. Sic!, – Melancholy – pages.

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Melancholia: o tych, co nigdy nie odnajdą straty – Marek Bieńczyk – Google Books

He is an essayist, a translator of Cioran and Kundera, among others an academic literary historian, and even a noted wine critic. Instead, it puts these forms to work on each other.

Fictional passages are framed like the asides of an absentminded academic, melanchola facts are narrated with a novelistic sensibility.

melanchoia Instead it stays in suspension, slipping by almost silently. This treatment entails a multifaceted method, partly drawn from the discipline of philology: Rousseau believed that the heart of man could speak.


Nowadays, as with shop windows, seeing through things is what stops us from seeing beyond them. Transparencytoo, must steer between these two poles, to resist being read simply as trifling scholarship, or otherwise as stained glass, as snow globe, as ornament.

He makes each of its terms transparent, a lens through which we might discover the other. Hence, melancholy manifests itself in both passive and active aspects—as a resigned falsification of experience, and as its regeneration.

Those Who Never Recover What They’ve Lost: Melancholy

This rubric might be richly applied to a certain melancholic strain in contemporary writing, ranging from W. Sebald to Lars Iyer. Like melancholiz melancholic upward gaze, transparency here reaches beyond a quiet acceptance of the real. His book is structured associatively, less like an essay than like lived experience.

Melancholia. O tych, co nigdy nie odnajdą straty (Stanowiska/Interpretacje)

Thus, the trick melqncholia Transparency is that its intellectual content—its roster of knowledge—is in the last instance not intellectual, but psychological. It is what its author happens to know, what matters to him, what he haphazardly remembers. So much is said in this book, so much pondered and studied, but with a lightness which leaves us unsure whether we only dreamt it. Transparency captivates, but is soon blissfully forgotten.


But to lose oneself in reading is only to echo how one has lost oneself in life. A book should biencsyk us look up, leaving life behind for a time, but not leaving us spellbound; not stopping itself from being seen through. David Winters is a literary and cultural critic. Links to his work are at Why Not Burn Books? Douglas Glover believes that there is a major failure in literary culture, and his new volume o Uncollected Poems by R.